Fairytale Ballets - Cinderella, Coppelia, The Sleeping Beaut
Opus Arte
DVD
$52.99Jun 26, 2026
The Royal Ballet's perfect pairing of Marianela Nunez and Vadim Muntagirov takes centre stage in this collection of four fairytale favourites. Royal Ballet founding choreographer Frederick Ashton's Cinderella was brought back to Covent Garden in 2023 to celebrate it's 75th Anniversary with a creative team steeped in the magic of theatre, film and dance bringing new atmosphere to Cinderella's ethereal world of fairy godmothers and pumpkin carriages, handsome princes and finding true love. Ninette de Valois' charming and funny Coppelia is a classic of The Royal Ballet repertory - a story of love, mischief and mechanical dolls. The intricate choreography is set to Delibes' delightful score and shows off the technical precision and comedic timing of the whole company. Osbert Lancaster's designs bring a colourful storybook world to life in this entertaining and joyful ballet. Marius Petipa's The Sleeping Beauty holds a special place in The Royal Ballet's repertory, with it's vibrant sets and glittering costumes and featuring such iconic moments as the Rose Adage, the Vision Pas de Deux, the exuberant wedding celebration and the charming fairy-tale guests, all danced to Tchaikovsky's richly layered music - one of the most beloved ballet scores of all time. Swan Lake is perhaps the best-loved of all the classical ballets. This production by Liam Scarlett features additional choreography while remaining faithful to Petipa and Ivanov's classic. John Macfarlane's opulent designs provide an atmospheric, period setting for this enthralling love story, illuminated by Tchaikovsky's sublime score.
One of the most vibrant, colourful and eye-catching productions staged at London’s Royal Opera House who offered it as the 2009 Christmas presentation. Starting out life as Vakula the Smith, whatever its title, Tchaikovsky’s opera was based on Gogol’s story, Christmas Eve, its lighthearted fairytale aimed at creating an evening of delightful fantasy. The plot is complicated and requires a large cast, but taken down to its bare bones, it tells the story of Vakula, whose mother is courted by many men including the Devil, she too being something of a witch. He falls for the young village wench, Oxana, a rather highly-strung filly who says he will have to get the Empresses shoes before she will marry him. With the help of the Devil, who carries him on his back to St. Petersburg, he does successfully obtain a pair of the Empresses shoes. Victorious he returns only to find a contrite Oxana who has missed him greatly, and wants him as her husband with or without the Empresses shoes. Though it was heavily revised by Tchaikovsky to create Cherevichki (The Tsarina’s Slippers), he thought very highly of the finished product, but it has never found a place in the international opera repertoire. With a largely Russian cast, the Royal Opera House turned it into a visual spectacular, presenting one big scene after another, with big ballet scenes and a massive extravaganza at the Empresses palace. The cast is superb throughout, with Vsevolod Grivnov a heroic heldontenor as Vakula; Olga Guryakova a charming and typical Russian soprano as Oxana; Larissa Diadkova is a fulsome Solokha in voice and stature, but it is the big voice of Vladimir Matorin as Chub that almost steals the show. Maybe the chorus is just a little tentative at times, particularly at the return of Vakula, but with the range of magnificent costumes they still make a visual delight. A joint BBC/Royal Opera House product, the whole presentation is superb, the costume’s colours so thrillingly brought to your screen.
Solokha – Larissa Diadkova The Devil – Maxim Mikhailov Chub – Vladimir Matorin Panas – John Upperton Oxana – Olga Guryakova Vakula – Vsevolod Grivnov Pan Golova – Alexander Vassiliev The Schoolmaster – Viacheslav Voynarovskiy Odark – Olga Sabadoch Wood Goblin – Changhan Lim Echo – Andrew Macnair His Highness – Sergey Leiferkus Master of Ceremonies – Jeremy White
The Royal Ballet Royal Opera House Orchestra Alexander Polianichko, conductor
Francesca Zambello, stage director Alastair Marriott, choreography
Recorded live at the Royal Opera House, Covent Garden, November 2009.
Bonus: - Introducing Cherevichki by Francesca Zambello - Cast and Characters - Staging Gogol's world
Picture format: NTSC 16:9 anamorphic Sound format: LPCM Stereo / DTS 5.1 Region code: 0 (worldwide) Menu language: English Subtitles: English, French, German, Spanish Running time: 154 mins No. of DVDs: 1
Verdi’s opera of passion, blood, fire and vengeance comes to the stage in an atmospheric production by David Bosch. A quartet of world-class singers bring the principal characters of this searing opera to life. Gregory Kunde stars as the troubadour Manrico, with Lianna Haroutounian as his courageous lover Leonora. Vitaliy Bilyy is the tyrannical Count di Luna, the man who wants Leonora for himself, and Anita Rachvelishvili is Azucena, the mysterious gypsy woman unable to reveal the secret that torments her. Richard Farnes conducts the Orchestra of the Royal Opera House and Royal Opera Chorus in this exploration of love, cruelty, intense passion and revenge. "The evening’s musical credentials are unequivocally outstanding. The soloists are very strong with two performances standing out in particular. The first comes from Vitaliy Bilyy who is making his Royal Opera debut as the Count di Lunaand who combines a deep, rich and secure baritone with a suitably commanding presence.... The second comes from Anita Rachvelishvili as Azucena who displays a rich and nuanced mezzo-soprano, and whose voice and acting mark out the weight of sorrow and resolve that she constantly carries...." (Opera Online)
Odette / Odille – Marianela Nuñez Prince Siegfried – Thiago Soares The Princess, Siegfried’s mother – Elizabeth McGorian An Evil Spirit / Von Rothbart – Christopher Saunders The Tutor – Alastair Marriott Benno – David Pickering
Royal Ballet Royal Opera House Orchestra Valeriy Ovsyanikov, conductor
Anthony Dowell, stage director Marius Petipa and Lev Ivanov, choreographers
Recorded at the Royal Opera House, Covent Garden, London, on 16 and 24 March 2009
Bonus: - Illustrated synopsis - Cast gallery - Interview with Anthony Dowell - Four Swan Queens - Exclusive 30-minute conversation on the demands of dancing the role of the Swan Queen with former Prima Ballerinas - Dame Beryl Grey, Dame Monica Mason, Lesley Collier and current principal Marianela Nuñez
The Nutcracker
The Sugar Plum Fairy – Miyako Yoshida Nephew / Nutcracker – Ricardo Cervera / Steven McRae The Prince – Steven McRae Drosselmeyer – Gary Avis
Royal Ballet Royal Opera House Orchestra Koen Kessels, conductor
Peter Wright, choreographer and director (after Lev Ivanov)
Recorded live at the Royal Opera House, Covent Garden, London, November and December 2009
Bonus: - Cast gallery - Rehearsing at White Lodge - Peter Wright tells the story of The Nutcracker
The Sleeping Beauty
Princess Aurora – Alina Cojocaru Prince Florimund – Federico Bonelli King Florestan XXIV – Christopher Saunders His Queen – Elizabeth McGorian Cattalabutte – Alastair Marriott Carabosse – Genesia Rosato Lilac Fairy – Marianela Nuñez
Royal Ballet Royal Opera House Orchestra Valeriy Ovsyanikov, conductor
Marius Petipa, choreographer
Recorded live at the Royal Opera House, Covent Garden, London on 5 December 2006
Bonus: - Cast gallery - Illustrated synopsis
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Picture format: NTSC 16:9 Sound format: LPCM 2.0 / DTS 5.1 Region code: 0 (worldwide) Subtitles (bonus): French, German, Spanish (Nutcracker) + Italian (Swan Lake, Sleeping Beauty) Running time: 7 hours 37 mins No. of DVDs: 3
Giuseppe Verdi LA TRAVIATA (Blu-ray Disc Version) Violetta – Renée Fleming Alfredo Germont – Joseph Calleja Giorgio Germont – Thomas Hampson Baron Douphol – Eddie Wade Doctor Grenvil – Richard Wiegold
Royal Opera House Chorus and Orchestra Antonio Pappano, conductor Richard Eyre, stage director
Recorded live at the Royal Opera House, Covent Garden, London, June and July 2009.
Bonus: - Cast gallery - Antonio Pappano interviews Renée Fleming
Picture format: 1080i High Definition Sound format: LPCM 2.0 / DTS 5.1 Region code: 0 (worldwide) Menu language: English Subtitles: English, French, German, Spanish, Italian Running time: 135 mins No. of Discs: 1 (Blu-ray)
R E V I E W:
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VERDI La Traviata • Antonio Pappano, cond; Renée Fleming (Violetta); Joseph Calleja (Alfredo); Thomas Hampson (Germont); Royal Op House Ch & O • OPUS ARTE OA 1040 D (DVD); OA BD7076 D (Blu-ray: 154:00) Live: Covent Garden 6/27 & 30/2009
Back in Fanfare 34:1 I reviewed the recent DVD of La traviata with Angela Gheorghiu, Ramón Vargas, Roberto Frontali, and Lorin Maazel at La Scala. To summarize that briefly, my verdict was: excellent staging, superlative Gheorghiu, good Vargas and Maazel, hapless Frontali and comprimario singers. I also provided an extensive overview of other versions of the opera on DVD; all are flawed, but the best alternatives are the 1968 film version on VAI with Anna Moffo, Franco Bonisolli, Gino Bechi, and Giuseppe Patané; a 1972 Tokyo staging starring Renata Scotto, José Carreras, Sesto Bruscantini, and Nino Verchi, also on VAI; and the 2006 Los Angeles Opera production on Decca with Renée Fleming, Rolando Villazón, Renato Bruson, and James Conlon. Opus Arte now brings us a new version with Renée Fleming, and while it too is not without its flaws, it joins the aforementioned entries in the top rank of La traviata performances on video.
At the risk of seeming like a gaggle of geese nibbling this DVD to death, I will state up front that this version of the opera is carried by a few great strengths over multiple secondary weaknesses. The strengths are easy to state: All the principal roles are securely sung, a top-notch conductor is on the podium, and the staging is sensible. In particular, Joseph Calleja is one of the greatest Alfredos ever to record the role. While not ideally handsome and dashing in physical appearance, he has the ringing tenor voice, secure technique, heartbreaking plangency of timbre, and interpretive imagination for the ideal Alfredo. Every time he opens his mouth, you simply don’t want him to close it again. He is also an effective actor whose facial expressions, postures, and gestures harmonize with his singing.
After Calleja, however, the “yes, but” element of this review enters in for everyone and everything else, beginning with the Violetta of Renée Fleming. Doubtless she is a very good Violetta, and superior to many rivals, but I do not think she is a truly great one. Compared to her Los Angeles performance from three years earlier, her interpretation is considerably deeper but her vocal technique (particularly in “Sempre libera”) is more labored and the sound less creamy. Thankfully, she does far less of the distracting grimacing and bizarre grinning than before, though sometimes it still intrudes (someone needs to tell her to rehearse in front of a mirror). However, my greater concern is that her acting is too calculated and external to the character rather than indwelling it; she expends too much energy portraying, rather than being, Violetta. The gestures and movements all seem too self-conscious; instead of just picking up a champagne bottle, or flitting a handkerchief, or sitting down in a chair, one can almost see her thinking, “Now I’m supposed to pick up the champagne bottle,” “Now I should flit my handkerchief,” “Now I should sit down in this chair.” Again, I would prefer to emphasize the real improvement in her characterization in just three years, but this dimension is present and it does matter.
Next there is the Germont of Thomas Hampson. The good news is that he is in steady and secure voice here—not always the case recently—which is more than can be said for much of his painfully superannuated competition. The less than ideal news is that, in order to keep the voice steady, he constantly forces it so that every syllable is pushed out at a forte with a hard, unyielding tone that limits him to a single mode of expression, one of preemptive sternness. His acting and facial gestures are similarly limited and wooden; when Violetta pleads for his fatherly embrace he remains stock-still and ignores her, and displays equal unconcern for his son at “Di Provenza il mar.” In an unintentionally comic sartorial aspect, the light green piping on his brown suit unavoidably conjures up a chocolate sundae with mint drizzle icing, while his stiff posture and lumbering gait in an over-padded full-length fur coat keep bringing to mind actor Fred Gwynne (aka Herman Munster). Again, I don’t want these smaller details to override the fact that Hampson’s Germont trumps that of many lesser singers, but again they are present and do matter.
The rest can be summarized more briefly. One always expects fine Verdi conducting when Antonio Pappano is in the pit, and so it proves here; but this time he seems a bit too deferential to his singers and the performance lacks the extra frisson found in his very best interpretations, and I actually find myself preferring Maazel overall despite his occasional eccentricities. The comprimario singers are uniformly excellent to a rare degree—every one of them could easily be singing a principal role in a major opera instead—and the deft stage direction makes their momentary interactions contribute far more to the cogency of the plot that I have ever experienced before. The recorded sound and film quality are quite good, with the quality of the Blu-ray disc only marginally superior to that of the regular DVD; the camerawork is sensible if not exceptional; the costumes are of the period and (Hampson’s suit and coat excepted) attractive and elegant; the ballet sequence at Flora’s party is nicely staged.
My one other major reservation concerns the production’s sets, which are quite pedestrian. Act I is set in a round room with brown wood paneling and a single large window with blinds in the back, with a small round settee and semicircular padded backless benches around it—no banquet table, chandelier, or anything else to indicate either elegance or the intended significance of Violetta in the round. While not the awful Willy Decker sofa and clock, it’s a major disappointment. The villa interior for act II, scene 1 is painted a drab eggshell blue and has no furniture other than a long work table and a few chairs. Several paintings—whether waiting to be hung or sold is not clear—are stacked on the floor to one side, and several little squares painted with stripes—color swatches, perhaps?—rest in a row on the wall molding halfway off the floor. It’s not very attractive, and simply leaves one baffled regarding the desired effect. By contrast, Flora’s party in act II scene 2 is appropriately elegant, marred only by garish red stage lighting, a huge modern dome light fixture hanging from the ceiling like an oversized cafeteria heat lamp hovering over sandwiches. Act III has an appropriately simple setting of a bare room outfitted with a bed, a dresser, and a couple of chairs, but again is marred by two enormous windows with blinds, against which inexplicably tall shadows (up to 30 feet) of carnival revelers are cast after Violetta finishes “Addio del passato.” Compared to the high-class La Scala staging for Gheorghiu, this is an impoverished country cousin.
So, once again, we still await the ideal La traviata. In the best of all possible worlds, I would be able to take the La Scala production, replace its wretched comprimario singers with their Covent Garden counterparts, swap out Vargas for Calleja, and replace Frontali with almost any other baritone from another DVD. (Leonard Warren, where are you when we need you?) Barring such a pleasing impossibility, however, this production is as good as any other and better than most, and is recommended accordingly.
Country boy Nemorino is determined to win the haughty Adina's heart, but she refuses to give him the time of day. Can Doctor Dulcamara's so-called 'elixir of love' work it's magic? Conductor Sesto Quatrini makes his house debut, as does soprano Nadine Sierra in the role of Adina. She is joined by Liparit Avetisyan, Boris Pinkhasovich and the incomparable Bryn Terfel as the genial wheeler-dealer Doctor Dulcamara.
Through the haze of the years, a poet remembers the women he loved. But when it comes to matters of the heart, nothing is as it seems. Particularly when the devil himself is involved. Journeying back to his school days, Hoffmann (Juan Diego Florez) relives his childhood romance with Olympia, a model student in every sense. Doomed love follows him into adulthood, where the dancer, Antonia, is taken from him too soon. Meanwhile, the sensual courtesan Giulietta has her own secret agenda. As memory and fantasy become increasingly blurred, will Hoffmann find the enigmatic Stella before it is too late? Olivier award-winning director Damiano Michieletto returns to The Royal Opera for a new production of Offenbach's The Tales of Hoffmann alongside conductor Antonello Manacorda.
Marius Petipa’s exotic ballet, set in legendary India, is a story of love, death and vengeful judgement. Natalia Makarova’s sumptuous recreation of Petipa’s choreography, with atmospheric sets by Pier Luigi Samaritini and beautiful costumes by Yolanda Sonnabend, stars Tamara Rojo as the Bayadère (temple dancer) Nikiya, CarlosAcosta as Solor, and Marianela Nuñez as Gamzatti whose alluring presence challenges Solor’s love for Nikiya. Filmed in High Definition and recorded in true surround sound.
‘There wasn’t a single physical gesture that didn’t mean something, that didn’t speak of love trying and failing to blossom.’ -- The Daily Telegraph
Solar – Carlos Acosta Gamzatti – Marianela Nuñez Nikiya – Tamara Rojo The High Brahmin – Gary Avis Rajah – Christopher Saunders Magdaveya – Kenta Kura Solor's Friend – Valeri Hristov
Royal Ballet Royal Opera House Orchestra Valeriy Ovsyanikov, conductor
Natalia Makarova, choreographer
Recorded live from the Royal Opera House, January 2009
- Tamara Rojo on dancing La Bayadère - Leanne Cope and Francesca Filpi on the corps de ballet -Tamara Rojo and Carlos Acosta rehearse with Alexander Agadzhanov - Natalia Makarova on choreographing La Bayadère
Picture format: NTSC 16:9 anamorphic Sound format: LPCM Stereo / DTS 5.0 Region code: 0 (worldwide) Menu languages: English Subtitles (Bonus): English, French, German, Spanish Running time: 166 mins No. of DVDs: 1
Puccini’s Japanese tragedy Madama Butterfly is given a ravishing production by The Royal Opera. Its alluring imagery of Japan from the 19th-century European Imagination heightens the intense clash of East and West. When the American naval officer Pinkerton seduces the young ‘Butterfly’ Cio-Cio-San, he seems to promise every happiness – but his cruel abandonment leads to her tragic self-sacrifice. Antonio Pappano, Music Director of The Royal Opera and renowned for his interpretations of Puccini, conducts an exceptionally fine cast with the Royal Opera Chorus and the Orchestra of the Royal Opera House. Powerful performances show why Madama Butterfly remains one of the all-time operatic favourites. ‘‘Always at his best in Puccini, Antonio Pappano conducts with passionate sincerity.’’ (The Guardian 5 Stars) ‘‘An opera that ranks among the very greatest of the 20th century.’’ (The Daily Telegraph 4 Stars) ‘‘Ermonela Jaho is the best Cio-Cio-San London has seen in years’’ (Independent 4 Stars) -----
REVIEWS:
The Albanian soprano Ermonela Jaho is one of the great singing actresses of our time. Hers is not a sumptuous soprano, but the colors she brings to her portrayal are astonishing. Her Flower Duet with Elizabeth DeShong's feisty, sympathetic Suzuki is quite beautifully sung. Pappano - arguably today's greatest Puccianian conductor - draws ardent playing from the orchestra, superbly detailed in its commentaries.
– Gramophone
Pappano is particularly alert to Puccini borrowing traditional Japanese melodies; at times he makes you hear this score, as well as the drama on stage, as a tug of war between East and West. It’s Sharpless and Suzuki who steal the show – a consul with a tender conscience from Scott Hendricks and Elizabeth DeShong as a maid who could melt the stoniest of hearts.
This collection brings together three extraordinary ballets by Kenneth MacMillan, one of the 20th century’s most influential choreographers whose work forms a pillar of The Royal Ballet’s repertory. MacMillan pushed the boundaries of dance, and these three signature works exemplify his searching genius: the emotional intensity and rich physicality of his choreography, through vivid crowd scenes and passionate pas de deux; the daring and the darkness of his complex and fascinating characters; and the mesmerizing, sensuous music to which his steps were always created. Filmed in High Definition and recorded in true Surround Sound. "Lovers of classical ballet should, without question, go and see the Royal Ballet’s magnificent production of Manon. Ballet sceptics, meanwhile, should see it at least twice." (The Telegraph - Manon) "Such is the breathtaking impact of this production, with consistent excellence to savour from both principals and the corps, magnificent costumes and stage scenery and spot-on camera direction from Ross MacGibbon that criticism is effectively silenced. If you have been waiting for a truly outstanding Romeo and Juliet to appear on Blu-ray, then look no further." (International Record Review - Romeo & Juliet)
Royal Ballet Principal Natalia Osipova dances the title role in Kenneth MacMillan's haunting ballet, to atmospheric music by Tchaikovsky and Martinu. Anastasia tells the story of Anna Anderson who, following the Russian Revolution and the murder of the royal family, claimed she was the surviving Grand Duchess Anastasia. Many believed her to be an imposter; others hoped she was Anastasia, a remnant of a lost world. A powerful, psychological challenge for the lead dancer, Anastasia explores one of the great historical mysteries of the 20th century, only recently solved, and the distorting mirror of memory, time and place. 'Natalia Osipova... technical perfectionism' (The Stage) 'I salute Osipova, the entire company performance, Crowley's magnificent designs, and Simon Hewett's notable account of the Tchaikovsky/Martinu scores.' (The Financial Times 5 Stars) '- convulsive jitters, turned-in feet, violence, grief, and fear - is no surprise, either... Osipova's magnetic performance.' (The Arts Desk 4 Stars)
TCHAIKOVSKY The Nutcracker • Koen Kessels, cond; Iohna Loots (Clara); Ricardo Cervera (Nutcracker); Gary Avis (Drosselmeyer); Genesia Rosato (Dancing Mistress); David Pickering (Mouse King); Miyako Yoshida (Sugar Plum Fairy); Steven McRae (Prince); Royal Op O • OPUS ARTE 1036 (DVD); OA BD7072D (Blu-ray) (127:00 Text and Translation) Live: Covent Garden 11/26 and 12/2/2009
& Rehearsing at White Lodge (10:12); Peter Wright tells the Nutcracker story (8:56)
If you are one of those who think there’s nothing new under the sun, particularly so far as The Nutcracker goes, this production will turn your world on its ear. Moreover, it is the very best Nutcracker production, and performance, I’ve ever seen in my life, and I’ve seen some good ones (Cincinnati Ballet’s classic 1970s production, elements of which were “borrowed” by ballet companies around the country; Balanchine’s not-so-classic New York production of the same decade; and Baryshnikov’s unusual but ultimately failed attempt at it in the 1980s).
Choreographer Peter Wright, now 81, has first and foremost revamped the narrative of the plot to make it more sensible and, in both plot restructuring and staging, managed to make the usually fragmented and boring act II more continuous with act I. Second, it is, in costuming and set design, both lavish and traditional, yet with numerous little touches that clearly point to an updating. And third, it is so well cast, from the principal roles down to the very last flower, mirliton, mouse, and child dancer, that it is almost mind-boggling. In short, this is as close to a perfect Nutcracker as you are likely to see in your lifetime.
It’s so good, in fact, that I must say this, it was not merely a pleasure but a privilege for me to review it. If it weren’t so obvious that every single cast member is really enjoying himself or herself in addition to being brilliant onstage, it might have been one of those cold-but-perfect experiences that continue to crop up on video, but everyone certainly looks as if they enjoy giving this performance as much as the audience enjoys watching it.
Pride of place goes to Miyako Yoshida as the Sugar Plum Fairy rather than Iohna Loots as Clara, but only because Yoshida is jaw-droppingly stunning whereas Loots is “merely” fabulous. Principal ballerina of the Royal Ballet for at least a decade, Yoshida gives here a performance on par with late-period Margot Fonteyn. There are a few very tiny breaks in form, but otherwise, she is perfect. And I mean PERFECT. I even get the impression that Loots herself enjoys watching this performance—how could she not? Yet Loots is an exceptional dancer, with outstanding entrechats and excellent form. It also helps, from the believability standpoint, that she is a very small woman with a youthful face, so it is quite easy for her to play a 14-years-old without the audience thinking, “14, my eye.” Ricardo Cervera, as her nutcracker and, later, prince, is equally outstanding. He’s the best I’ve seen in many a year, capable of extraordinary leaps, fancy footwork, and spins that put me in mind of Roman Jasinski. In the second act, he even joins the Russian dancers and takes center stage during the kazatsky!
Wright’s genius is in rethinking the entire Nutcracker plot, divorcing the first act from the shattered remnants of E. T. A. Hoffmann’s story (which had been thoroughly diluted by Marius Petipa in the first place) and creating a new narrative structure into which everything fits. In Wright’s Nutcracker, Drosselmeyer had previously invented a trap for a royal household that killed off half the mouse population. In revenge, the wicked Mouse Queen cast a spell over his nephew, Hans-Peter, turning him into an ugly nutcracker doll. The only way to break the spell is for a young girl to love and care for him despite his awful appearance, and have him slay the Mouse King. In this context, Wright creates a prelude scene played out during the overture, showing Drosselmeyer in his study, looking longingly at a portrait of his cursed nephew and wrapping up the “nutcracker” as a Christmas gift for his favorite niece, Clara. In this production, Drosselmeyer forsakes the usual grotesque makeup and costuming borrowed from Hoffmann; he is older but distinguished-looking, wearing a flowing cape (which Gary Avis really knows how to throw around the stage!), performing numerous magic tricks for his family at the Christmas party (and which he pulls off splendidly), and continuing his appearance after most Drosselmeyers have disappeared for the duration. He comes out of the standing “owl clock” to direct the scene during the growing of the tree, sprinkles glitter across the stage to presage the appearance of angels (who really do appear to be floating across the stage … watch their controlled positions in these and other scenes!), and brings in the magic carriage that takes Clara and the now-transformed Hans-Peter to the second act, where Drosselmeyer puts on an entertainment to salute both of them for their bravery.
This new scenario works brilliantly and, as I said, it establishes continuity in the second act by having Cervera and Loots participate in some of the dances. Costuming and lighting are flawless, and the entire production has the quality of a dream. Not just the angels, but everyone else as well, appears to be literally floating across the stage as they move with the gossamer lighting effects and their controlled body positioning. Mother Goose is dispensed with (thank goodness). At the end, Hans-Peter puts his cloak over Clara’s bare shoulders as a keepsake, then returns to his uncle’s study—the very scene of the opening—to be embraced by the older man and bring closure to the entire production.
If you are a Nutcracker fan, or know someone who is, you MUST buy this DVD. If you are a choreographer or set designer, you must see how Wright and set designer Julia Oman work hand-in-glove to produce a masterpiece. And if you’re a dancer, you need to have this disc in your collection to watch, over and over and over again. You won’t believe your eyes at the sheer perfection of it all. Your jaw will drop, too, and you’ll understand how the usually staid Covent Garden audience goes absolutely berserk, screaming and applauding this Nutcracker—and particularly Yoshida—in a way British audiences rarely do. The bonus rehearsal sequence shows, as usual, some of the hard work behind the perfection, but also shows how Wright prods, cajoles, and encourages the children into giving their best—and, as he puts it, “for heaven’s sake, enjoy yourself!”
Russian dance superstar Natalia Osipova joined The Royal Ballet as a Principal in 2013 and has since filled each of her leading roles with an unforgettable passion, fiery energy and technical prowess. This collection brings together some of her most spellbinding performances: her dramatic dual performance of Odette and her rival Odile in Swan Lake; outstanding solos and flair for comedy as the young lover Lise in La Fille mal gardée; and her electric stage presence in the title role of the quintessential Romantic ballet Giselle where she was hailed as ‘technically and artistically supreme… ethereal and desperately moving’ (The Daily Telegraph). The set is completed with an in-depth portrait, Force of Nature Natalia, which provides an unparalleled opportunity to become closely acquainted with one of the leading ballerinas of her generation, and invites you to discover why critics and audiences all over the world call her a ‘force of nature’ of the dance world.
The Royal Opera Collection brings together eighteen outstanding productions from The Royal Opera, spanning all-time classics and contemporary masterpieces. Featuring some of the world’s finest performers and leading directors, The Collection demonstrates the breadth of The Royal Opera’s work including Le nozze di Figaro, Carmen, Turandot, La traviata, Cavalleria rusticana, Pagliacci, and the Multiple award-winning Written on Skin. A special edition book is also included, containing new articles about The Royal Opera, richly illustrated with stunning photographs.
Feeney: The Cellist - Robbins: Dances at a Gathering
Opus Arte
Blu-Ray
$39.99Feb 26, 2021
Internationally acclaimed choreographer Cathy Marston, previously Associate Artist of The Royal Ballet and Director of Bern Ballett, created The Cellist for The Royal Ballet in 2020. The inspiration for her first work for the Royal Opera House Main Stage is the momentous life and career of cellist Jacqueline du Pre - from her discovery of the cello and her celebrity as one of it's most extraordinary players, to her pain, frustration and struggle with multiple sclerosis. Composer Philip Feeney incorporates some of the most moving and powerful music for cello by Elgar, Beethoven, Faure, Mendelssohn, Piatti, Rachmaninoff and Schubert into an exquisite score that is itself an homage to the cello. Jerome Robbins' elegant and elegiac classic, Dances at a Gathering, is the other work in the programme.' pure dance for five couples, set to music by Chopin, is a masterpiece of subtlety and invention."
Lise is the only daughter of Widow Simone, the owner of a prosperous farm. She is in love with the young farmer Colas, but her mother has higher ambitions for her, hoping to marry her off to Alain, the son of the wealthy proprietor Thomas. Desperate to marry Colas rather than Alain, Lise contrives to outwit her mother's plans. When La Fille mal gardee premiered in Covent Garden on 28 January 1960, it instantly won all hearts. Inspired by Jean Dauberval's French ballet, Ashton's version combines exuberant good humour and an affectionate portrayal of village life. The Royal Ballet's Founder Choreographer, Frederick Ashton, hoped to capture the 'leafy pastoral of perpetual sunshine... The suspended stillness of a Constable landscape of my beloved Suffolk, luminous and calm'. Osbert Lancaster's colourful designs bring the charm of the countryside to life.
Lise is the only daughter of Widow Simone, the owner of a prosperous farm. She is in love with the young farmer Colas, but her mother has higher ambitions for her, hoping to marry her off to Alain, the son of the wealthy proprietor Thomas. Desperate to marry Colas rather than Alain, Lise contrives to outwit her mother's plans. When La Fille mal gardee premiered in Covent Garden on 28 January 1960, it instantly won all hearts. Inspired by Jean Dauberval's French ballet, Ashton's version combines exuberant good humour and an affectionate portrayal of village life. The Royal Ballet's Founder Choreographer, Frederick Ashton, hoped to capture the 'leafy pastoral of perpetual sunshine... The suspended stillness of a Constable landscape of my beloved Suffolk, luminous and calm'. Osbert Lancaster's colourful designs bring the charm of the countryside to life.
Puccini: Manon Lescaut / Domingo, Kanawa, Friedrich, Royal Opera House [DVD]
Opus Arte
DVD
$24.99Mar 25, 2022
Puccini began to compose Manon Lescaut in 1889. It was an act of supreme bravado as only five years previously Massenet had premiered Manon, based on the same novel by Abbé Prévost. The story is set in France and Louisiana in the early 18th century and focuses on – in a way different to Massenet – the fortunes and tragedy of the hero, the Chevalier des Grieux, and his lover, Manon. Its ceaseless melodic beauty and drama were recognized immediately and the first night was an overwhelming triumph, with Puccini effectively anointed as Verdi’s successor and Italy’s greatest operatic composer. Ninety years after its 1893 premiere in Turin, the work was staged by the Royal Opera House, Covent Garden. The 1983 production was conducted by Giuseppe Sinopoli, making his British operatic debut to such remarkable effect that The Times referred to him as ‘Europe’s most spectacular new opera star’. The cast included three of the greatest exponents of their roles; Plácido Domingo as the romantic hero whose performance ‘was a cause for drop-jawed wonder’ (The Spectator), the radiant Kiri Te Kanawa as Manon and Thomas Allen as her brother, Lescaut. Director Götz Friedrich’s largely traditional staging proved a major theatrical success.
Fairytale Ballets - Cinderella, Coppelia, The Sleeping Beaut
Opus Arte
Blu-Ray
$52.99Jun 26, 2026
The Royal Ballet's perfect pairing of Marianela Nunez and Vadim Muntagirov takes centre stage in this collection of four fairytale favourites. Royal Ballet founding choreographer Frederick Ashton's Cinderella was brought back to Covent Garden in 2023 to celebrate it's 75th Anniversary with a creative team steeped in the magic of theatre, film and dance bringing new atmosphere to Cinderella's ethereal world of fairy godmothers and pumpkin carriages, handsome princes and finding true love. Ninette de Valois' charming and funny Coppelia is a classic of The Royal Ballet repertory - a story of love, mischief and mechanical dolls. The intricate choreography is set to Delibes' delightful score and shows off the technical precision and comedic timing of the whole company. Osbert Lancaster's designs bring a colourful storybook world to life in this entertaining and joyful ballet. Marius Petipa's The Sleeping Beauty holds a special place in The Royal Ballet's repertory, with it's vibrant sets and glittering costumes and featuring such iconic moments as the Rose Adage, the Vision Pas de Deux, the exuberant wedding celebration and the charming fairy-tale guests, all danced to Tchaikovsky's richly layered music - one of the most beloved ballet scores of all time. Swan Lake is perhaps the best-loved of all the classical ballets. This production by Liam Scarlett features additional choreography while remaining faithful to Petipa and Ivanov's classic. John Macfarlane's opulent designs provide an atmospheric, period setting for this enthralling love story, illuminated by Tchaikovsky's sublime score.
Classical ballet's most powerful tale of love, treachery and forgiveness returns to the Royal Opera House stage. Out hunting, Prince Siegfried chances upon a flock of swans. One among them transforms into the beautiful human Odette and he is immediately enamoured. But Odette is bound by a spell which keeps her captive as a swan during the day. Can Siegfried free her? Tchaikovsky's sensational score combines with the evocative imagination of choreographer Liam Scarlett and designer John Macfarlane to heighten the dramatic pathos of Marius Petipa and Lev Ivanov's quintessential ballet classic. Swan Lake remains to this day one of the best-loved works in the classical ballet canon.
From a kaleidoscopic abstract ballet to a poignant elegy, celebrate Kenneth MacMillan's endless invention in three works. Kenneth MacMillan (1929-92) was the leading choreographer of his generation. Renowned for his full-length dramatic works which dug deep into the human psyche, MacMillan's creativity knew no bounds. His one-act works also reshaped the collective identity of The Royal Ballet, challenging the art form to reflect real-life emotions, passions and human frailty. In three varied works, this mixed programme offers a taster of MacMillan's exceptional craft.
From a mysterious Cheshire Cat and a tap-dancing tea party, to frogs acting as footmen and unknown potions that turn you tiny, many treats and eccentricities await in this weird and wonderful world. You never know what you might find when you fall down the rabbit hole. Christopher Wheeldon's?Alice's Adventures in Wonderland?burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot's score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley's wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real. The result shows The Royal Ballet at it's best, bringing together world-class dance with enchanting family entertainment and ingenious music and design.
Teeming with comedy, wit and an abundance of bravura choreography, Carlos Acosta's production brings the Spanish heat and romance of Miguel de Cervantes' classic novel Don Quixote to life. Often regarded as the first modern novel, Cervantes' epic regales the chivalrous adventures of the eccentric nobleman Don Quixote (Gary Avis) and his faithful squire Sancho Panza (Liam Boswell). The ballet focuses on one of their adventures, where they help to bring a vivacious young couple, Kitri (Mayara Magri) and Basilio (Matthew Ball), together.
Sensuous contemporary ballet meets the energy of musical theatre in four distinctive short works showcasing the extraordinary versatility of The Royal Ballet's Artistic Associate, Christopher Wheeldon. His hugely successful career, spanning ballet to musical theatre from London to New York and beyond, has garnered international acclaim. These exceptional pieces - Fool's Paradise, The Two of Us, Us and An American in Paris - are a feast for the senses highlighting the Tony- and Olivier-award-winning choreographer's remarkable range. This collection is a testament to Wheeldon's diverse expression and creativity.
Scenes de ballet; A Month in the Country; Rhapsody
Opus Arte
Blu-Ray
$39.99Apr 24, 2026
A celebration of the masterful artistry of Frederick Ashton, this collection presents three defining works from the Founder Choreographer of The Royal Ballet. A pioneer of 20th-century dance, Ashton brought elegance, innovation and emotional depth to the stage, shaping the identity of British ballet for generations. Scenes de ballet distils classical technique into a striking study of form and symmetry. Ashton gracefully reimagines Turgenev's play A Month in the Country as a one-act ballet where all the drama unfolds in the family's living room upon the arrival of a dashing young tutor. Rhapsody, created for Mikhail Baryshnikov and Lesley Collier, blends virtuosic movement with lyrical beauty, set to Rachmaninoff's sweeping score. Together, these works offer a vivid portrait of Ashton's genius.
Classical ballet's most powerful tale of love, treachery and forgiveness returns to the Royal Opera House stage. Out hunting, Prince Siegfried chances upon a flock of swans. One among them transforms into the beautiful human Odette and he is immediately enamoured. But Odette is bound by a spell which keeps her captive as a swan during the day. Can Siegfried free her? Tchaikovsky's sensational score combines with the evocative imagination of choreographer Liam Scarlett and designer John Macfarlane to heighten the dramatic pathos of Marius Petipa and Lev Ivanov's quintessential ballet classic. Swan Lake remains to this day one of the best-loved works in the classical ballet canon.
From a kaleidoscopic abstract ballet to a poignant elegy, celebrate Kenneth MacMillan's endless invention in three works. Kenneth MacMillan (1929-92) was the leading choreographer of his generation. Renowned for his full-length dramatic works which dug deep into the human psyche, MacMillan's creativity knew no bounds. His one-act works also reshaped the collective identity of The Royal Ballet, challenging the art form to reflect real-life emotions, passions and human frailty. In three varied works, this mixed programme offers a taster of MacMillan's exceptional craft.
From a mysterious Cheshire Cat and a tap-dancing tea party, to frogs acting as footmen and unknown potions that turn you tiny, many treats and eccentricities await in this weird and wonderful world. You never know what you might find when you fall down the rabbit hole. Christopher Wheeldon's?Alice's Adventures in Wonderland?burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot's score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley's wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real. The result shows The Royal Ballet at it's best, bringing together world-class dance with enchanting family entertainment and ingenious music and design.
Country boy Nemorino is determined to win the haughty Adina's heart, but she refuses to give him the time of day. Can Doctor Dulcamara's so-called 'elixir of love' work it's magic? Conductor Sesto Quatrini makes his house debut, as does soprano Nadine Sierra in the role of Adina. She is joined by Liparit Avetisyan, Boris Pinkhasovich and the incomparable Bryn Terfel as the genial wheeler-dealer Doctor Dulcamara.
Teeming with comedy, wit and an abundance of bravura choreography, Carlos Acosta's production brings the Spanish heat and romance of Miguel de Cervantes' classic novel Don Quixote to life. Often regarded as the first modern novel, Cervantes' epic regales the chivalrous adventures of the eccentric nobleman Don Quixote (Gary Avis) and his faithful squire Sancho Panza (Liam Boswell). The ballet focuses on one of their adventures, where they help to bring a vivacious young couple, Kitri (Mayara Magri) and Basilio (Matthew Ball), together.
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